She points out that suspense "is generated by the manipulation of the cause and effect cycle as it rolls toward the future," which defines each cause becoming the effect of the next one. Suspense is brought!.
into a piece through conflict, which formulates energy. Bell exchanges ideas concerning the chronological order that linear narrative should follow. The reader learns from Bell that "according to the Freitag triangle, the structure of a narrative is the function of plot and time" (Bell 29). That is in general; as time passes in a story the plot should be gradually building, and ultimately reach a peak or climax, and once again gradually fall. From all of this one learns that linear narrative is a product of several contributing aspects in writing. .
Tim O"Brien's piece "How to Tell a True War Story" provides the reader with the knowledge of several different experiences of men and war. The various plots that are held within the story give the reader experience in unraveling a structure or format in the writing. These War is a circumstance where morality is not an issue. O"Brien portrays war as being something you could never imagine unless you (personally) have been through it. Soldiers hear things that sound like civilization, "except this isn't civilization. This is Nam" (O"Brien 81). The mere hallucinations of hearing voices that seem to be at a cocktail party drive the men crazy. The animals, and the rock; they are talking too. They hear stuff that nobody should ever hear. "The guys can't cope. They lose it" (O"Brien 82). In the actual essence of realization a true war story is never about war. Flashbacks fly in and out of the person's mind like an unimaginable nightmare. So these men can never truly guarantee that what they speak is true. As Sanders says, " " I got a confession to make," "Last night, man, I had to make up a few things"" (O"Brien 83). Some stories that are told are a lie but others can be considered truer than the truth.
